Cutting between different events occurring simultaneously in different locations. Especially in narrative filmmaking, cross-cutting is traditionally used to build suspense or to suggest a thematic relationship between two sets of actions.

An editorial transition overlapping a fade in and a fade out in such a way that one image gradually disappears while another simultaneously emerges. This transition generally suggest a longer period of narrative elapses than is suggested by cuts.

A wheeled cart or similar device upon which a movie camera is mounted to give it smooth, horizontal mobility.

Dollying or Dolly shot

A shot in which the camera moves toward or away from its subject while filming. Traditionally dolly shots are filmed from a camera dolly but the same motion may also be performed with a Steadicam, gimbal, etc. A dolly shot is generally described in terms of "dollying in" or "dollying out". Trucking in and out is also a common synonym.

A type of editorial match involving two, subsequent shots in which shot 1 contains an agent (a person, animal, etc.) gazing in the direction of some unseen, off-screen vision, and shot 2 contains an image presumed by the spectator to be the object of the agent's gaze.

Extreme close-up

A shot framed so closely as to show only a portion of the face or of some object.

Extreme long shot

A shot in which the human figure would be extremely insignificant compared to its surroundings.

A panoramic view photographed from a considerable distance and made up essentially of landscape or distant background.

Fade in/out

An editorial transition in which the image either gradually appears out of ("fade in") or gradually fades into ("fade out") a black screen.

A piece of filmed, printed text edited into the midst of (i.e. inter-) the photographed action at various points. Most commonly used in silent movies to convey elements of dialogue and other commentary.

Iris in/out

An editorial transition popular during the silent period utilizing a diaphragm placed in front of the lens and which, when opened (iris in) or closed (iris out), functions like a fade in or fade out. A partially opened iris can also be used to focus attention on a detail of the scene in the manner of vignetting.

An editorial transition between two shots in which the illusion of temporal continuity is radically disrupted.

Key light

The main light on a subject, usually placed at a 45 degree angle to the camera-subject axis. In high-key lighting, the key light provides all or most of the light in the scene. In low-key lighting, the key light provides much less of the total illumination.

A shot, often a medium shot or longer, which shows all the important action in a scene. In editing, the master can be used to a greater or lesser extent as the 'skeleton' of the edit, which is fleshed out by replacing parts of the master with tighter coverage such as closeups and cutaways.

Match cut

One of various editorial devices used to preserve a sense of spatio-temporal integrity or continuity between cuts.

Everything that has been placed in front of or is revealed by the camera while shooting.

Pan

A shot in which the camera is made to pivot horizontally left or right (about its vertical axis) while filming. Pans are always described in terms of "panning left" or "panning right". It is incorrect to discuss pans in terms of vertical, "up"/"down" movement, which is properly called tilting.

Point of view shot

(Often abbreviated as 'POV'). A shot which shows an image from the specific point of view of a character in the film.

A lightweight, highly-mobile camera transportation and stabilization device developed by inventor / cinematographer Garrett Brown which permits hand-held filming with an image steadiness comparable to tracking or dolly shots. The device involves 1.) a vest redistributing the weight of the camera to the hips of the cameraman and, 2.) a spring-loaded arm working to minimize the effects of camera movement. A video tap simultaneously frees the camera operator from the eyepiece, who is then free to travel through any walkable terrain while filming.

Story board

A series of drawings and captions (sometimes resembling a comic strip) that shows the planned shot divisions and camera movements of the film.

Tilt

A shot in which the camera is made to pivot vertically up or down (about its horizontal transverse axis) while filming.

A shot in which the camera moves alongside or parallel to its subject while filming. Traditionally tracking shots are filmed while the camera is mounted on a track dolly and rolled on dedicated tracks comparable to railroad tracks, In recent years, however, parallel camera moves performed with a Steadicam, gimbal, etc. may also be called a tracking shot. Tracking shots often "follow" a subject while it is in motion: for instance, a person walking on a sidewalk seen from the perspective of somebody walking on a parallel path several feet away. Shots taken from moving vehicles that run parallel to another moving object are also referred to as tracking or traveling shots. A tracking shot may also be curved, moving around its subject in a semi-circular rotation.

A shot taken from a stationary position using a special zoom lens that magnifies or de-magnifies the center of the image. This creates an illusion that the camera is moving toward or away from its subject by making the subject more or less prominent in the frame. Not to be confused with dollying in which the camera itself actually physically moves closer to or further away from its subject.

Movement can be used extensively by film makers to make meaning. It is how a scene is put together to produce an image. A famous example of this, which uses "dance" extensively to communicate meaning and emotion, is the film, West Side Story.

Provided in this alphabetised list of film techniques used in motion picturefilmmaking. There are a variety of expressions:

To achieve the results mentioned above, a Lighting Director may use a number or combination of Video Lights. These may include the Redhead or Open-face unit, The Fresnel Light, which gives you a little more control over the spill, or The Dedolight, which provides a more efficient light output and a beam which is easier to control.[1]

Sound is used extensively in filmmaking to enhance presentation, and is distinguished into diegetic and non-diegetic sound:

Diegetic sound: It is sound that the characters can hear as well as the audience, and usually implies a reaction from the character. Also called "literal sound" or "actual sound":

Voices of characters;

Sounds made by objects in the story, e.g. heart beats of a person

Source music, represented as coming from instruments in the story space.

Basic sound effects, e.g. dog barking, car passing; as it is in the scene

Music coming from reproduction devices such as record players, radios, tape players etc.

Non-diegetic sound: It is sound which is represented as coming from a source outside the story space, i.e. its source is neither visible on the screen, nor has been implied to be present in the action. Also called "non-literal sound" or "commentary sound":

Non-diegetic sound plays a significant role in creating the atmosphere and mood within a film.

Very commonly diegetic shift occurs from one to the other, for example when characters are listening to music, then start dancing and the music becomes non-diegetic to indicate being 'lost in the moment'.

In motion picture and television production, a sound effect is a sound recorded and presented to make a specific storytelling or creative point, without the use of dialogue or music. The term often refers to a process, applied to a recording, without necessarily referring to the recording itself. In professional motion picture and television production, the segregations between recordings of dialogue, music, and sound effects can be quite distinct, and it is important to understand that in such contexts, dialogue, and music recordings are never referred to as sound effects, though the processes applied to them, such as reverberation or flanging, often are.

New techniques currently being developed in interactive movies, introduce an extra dimension into the experience of viewing movies, by allowing the viewer to change the course of the movie.

In traditional linear movies, the author can carefully construct the plot, roles, and characters to achieve a specific effect on the audience. Interactivity, however, introduces non-linearity into the movie, such that the author no longer has complete control over the story, but must now share control with the viewer. There is an inevitable trade-off between the desire of the viewer for freedom to experience the movie in different ways, and the desire of the author to employ specialized techniques to control the presentation of the story. Computer technology is required to create the illusion of freedom for the viewer, while providing familiar, as well as, new cinematic techniques to the author.